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題 名 | 論十六世紀義大利牧歌中詩詞與音樂的互動性=Interaction of Lyrics and Music in Cinquecento-madrigal |
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作 者 | 陳希茹; | 書刊名 | 中山人文學報 |
卷 期 | 21 民94.冬 |
頁 次 | 頁47-69 |
分類號 | 877 |
關鍵詞 | 牧歌; 文學與音樂; 字音關係; 佩脫拉克運動; Madrigal; Literature and music; Word-tone-relation; The petrarchan movement; |
語 文 | 中文(Chinese) |
中文摘要 | 十六世紀中葉,尼德蘭樂派作曲家魁克爾貝爾克(Samuel Quickelberg)稱當時為了詮釋歌詞而興起的作曲風格為「保留音樂」(Musica reservata)。至於為誰而保留?音樂學界至今尚無定論!但從廣義來說,一般都相信,這種為詮釋字義而發展出來充滿象徵意義的音樂手法,確實只有具備專業素養的人才能理解。就此,十六世紀的義大利牧歌毫無疑問地是一種「保留音樂」。它不僅擁有深具涵義的音樂手法,就連歌詞的來源也大多取自當時的大師之手,牧歌中高度文學性與音樂內涵的結合,遂成為本文討論的議題。在本文裡,筆者嘗試分別以宏觀和微觀的面向檢視十六世紀義大利牧歌中詩詞與音樂的互動:以宏觀的角度,勾勒出文學與牧歌在歷史發展脈絡中的一致性;以微觀的角度,從詩句的結構、文字重音與意義分析中突顯音樂與歌詞的契合。在論文的最後,筆者試著從文學和音樂的互動中推論一個音樂的定位問題:是否音樂在文學與歌詞的影響下,還能發展出其自我的獨立性?筆者認為,音樂相對上的抽象性與自山詮釋空間,導致其雖置於語言的影響之下,終究還是能超越文字的束縛,體現音樂獨特的表現語法。 |
英文摘要 | In the middle stage of 16th Century, the Franco-Flemish composer Samuel Quickelberg named an emerging composing style at that time ”musica reservata” for its specific attribute of lyrics interpreting. But still, for which (reasons) the music is ”reserved” is not ”confirmed” in the arena of musicology. In general, people believe that this art of composing style orienting in philological lyrics-interpretation and hence fully embedded with symbolic meaning could actually only be understood by some ”professionals”. In this sense Cinquecento-Madrigal should definitely be a kind of ”musica reservata”. It possesses not only specific music style characterized with abundant music-literary value but even lyrics mostly out of the master-hands at that time. This highly associated joint of literary and music essence of Cinquecento-Madrigal is thereupon the issue here in concern. In the paper the author is trying to explore the interactions of Lyrics and music in cases of Cinquecento-Madrigal on a micro and macro level respectively. Out of the angle of macro perspective, we are searching through the context of historic development to map the correspondence of literature and madrigal. On the other hand, the associated compatibility of music and lyrics should emerge from a context of micro units after that we analyze the structure, stress/accent and meaning of the lyrics. In conclusion of the paper, the author get a tentative idea through interactions of literature and music to infer a question of music reposition: that is, under the huge impact of literature and lyrics, whether music is able to keep or develop its own autonomy or not? The author is herein in the opinion that although the music is often ”destined” to be subordinated to the impact of words, but because of its abstractness and openness by interpretation, it will overpass the philological obstacles and show its own specific performance in the final analysis. |
本系統中英文摘要資訊取自各篇刊載內容。